and shortly thereafter-- within a year or so-- the lord chamberlain's office collapsed and went away. maybe it was because they realized her majesty was never going to go to the theater. i don't know. over the years, have you seen a difference between reaction to your work in this country and reaction elsewhere? i think there's always been a slight difference in reaction. no, that-- i hate to generalize. i have found over the years, 'cause i've had a lot of my work done in europe and other places, that european audiences, i think, are better trained when they're in school as to the nature of theater and serious theater, and so they go to the theater with more information and with more tolerance for ideas, i think, than, generally speaking, audiences do in this country. but that's a generalization, and i don't like it. there was censorship, by the way, of who's afraid of virginia woolf? the archdiocese of boston-- when we were doing the play in boston, they had some objections, and i-i didn't approve any of the changes. i think they wanted eight or nine minor changes. i am told that my